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Holon is a flipbook that creates an illusion of motion when the pages are flipped through rapidly.

The images of this artist’s flip book are taken from an eponymous abstract film made by Christian Lebrat in 1982. The book can be turned over and flipped as well; the two directions correspond to the two sections of the film. It comes in a sleeve. The resulting artwork presents the film in another form.

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Codes for North is a study of the early evolution of the Canadian avant-garde film and its roots in an aesthetic of difficulty. Stephen Broomer traces the evolution of this cinema through the work of three artists—Jack Chambers, Michael Snow and Joyce Wieland—from their early development as painters in the 1950s to the creation of their epic films: Reason Over Passion (1969), The Hart of London (1970), and La Region Centrale (1971). Their work formed in response to a strain of Neo-Dada that took root in southern Ontario in the late 1950s.

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Ism, Ism, Ism / Ismo, Ismo, Ismo is the first comprehensive, United States–based film program and catalogue to treat the full breadth of Latin America’s vibrant experimental film production. The exhibition features key historical and contemporary films from Argentina, Brazil, Bolivia, Chile, Colombia, Cuba, Ecuador, Mexico, Paraguay, Peru, Uruguay, Venezuela, Puerto Rico and the United States.

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45 USD

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Done with Filming is the title of a film made by Maurice Lemaître between 1985 – 1990. It is composed of a collection of slides, primarily from New Wave films, on which the artist has intervened in multiple ways: with touch-ups, smudges, and graphic and visual interventions. Simultaneously, the soundtrack consists of a fake journalistic-style interview in which Lemaître, in his characteristic manner that is both serious and humorous, gives an account of his relationship with cinema, criticism, and creation.

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35 EUR

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Movement as Meaning in Experimental Cinema offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein's concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference.

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130 USD - Hardback

117 USD - Epub

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Imagine an eye unruled by man-made laws of perspective, an eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception. How many colors are there in a field of grass to the crawling baby unaware of "Green"? How many rainbows can light create for the untutored eye? How aware of variations in heat waves can that eye be? Imagine a world alive with incomprehensible objects and shimmering with an endless variety of movement and innumerable gradations of color.

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40 USD

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The 1970s was an enormously creative period for experimental film. Its innovations and debates have had far-reaching and long-lasting influence, with a resurgence of interest in the decade revealed by new gallery events, film screenings and social networks that recognise its achievements. Professor Laura Mulvey, and writer/director Sue Clayton, bring together journalists and scholars at the cutting edge of research into 1970s radical cinema for this collection.